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David Allen Pickups Developing A New Pickup In Collaboration With SoloDallas (Updated With Allen’s Prototype I, Metro JTM50)

13 Nov David Allen Pickups Developing A New Pickup In Collaboration With SoloDallas (Updated With Allen’s Prototype I, Metro JTM50)

Recording The Rock N Roll Relics "Angus Model" With A David Allen P51 on a number of amplifiers

Recording The Rock N Roll Relics “Angus Model” With A David Allen P51 on a number of amplifiers

 Please note: for the latest updates, please scroll down to the bottom.

 

Well, I’m happy to be able to officially announce that Mr. David Allen, me & myself (Solo & Dallas) are working actively together to bring you a new pickup to sound… as it should.

G93R1208

Microphone Types & Placement: Left, Shure SM57; Right, original 1960s Sennheiser MD421. These microphones are a “classic couple” for Rock & Classic Rock. This is the combination used to record – for example – Highway To Hell.

For what? Well, typically – knowing me – for Rock ‘n’ Roll. And moreso, it’s supposed to be one of those you can stick or shove into an SG of any kind and make her sound… good. Good reminiscent of what you know. Idea came months ago to friend Billy Rowe of Rock N Roll Relics, that put David Allen and myself in touch to work on this. At the time, the main objective was to choose two pickups for the Angus Model (Rock N Roll Relics “Angus Model”). Billy had chosen one from David Allen’s great line of pickups called the P51, which replicates a 1959 Gibson (the Gibson of those times) PAF.

One of our Plexi prototypes - companding 100%, Boost circa 60&

One of our Plexi prototypes – companding 100%, Boost circa 60&

As much as I personally love the P51, and likely am going to keep it inside my AM (Angus Model) as its main pickup – as a note: please listen to the audio takes below and realise how incredible the guitar and its pickup sound… this will help you realise why I had chosen Billy Rowe and his product in the first place – we needed another pickup that people could choose from when selecting their main Angus sound: older or newer (in the sense that, older Angus is definitely t-top style; newer – as rumoured – PAF style). So I got the newer. How ’bout the older?

And Billy put me in touch with Mr. Allen. Mr. Allen has a sort of scientific, knowledgeable approach with his pickups. And it sounds like it! So David sent me two prototypes of “his version” of older Gibson t-tops style pickups for me to experiment with, and I am just about to begin.

 

Firstly though, the plan is to document thoroughly the sound of what’s currently installed  – the P51, with several amplifiers, with & without The Schaffer Replica. And today I started doing just that.

To you now.

(Post in development, more audio files being uploaded please check back)

Technical notes:

  • Wizard Vintage Classic, Attenuated with Aracom Attenuator. Settings: Presence 0, Bass 6, Mids 5, Treble 6, Volume 7. Played through a Marshall reissue non slanted 4×12 cabinet loaded with original, vintage Celestion G12M “greenbacks”.
  • Original 1976 Marshall model 1959, Attenuated with Aracom Attenuator. Settings: Presence 0, Bass 6, Mids 5, Treble 6, Volume 7. Played through a Marshall reissue non slanted 4×12 cabinet loaded with original, vintage Celestion G12M “greenbacks”.
  • Metro JTM50 (JTM45 on EL34s) Attenuated with Aracom Attenuator. Settings: Presence 5, Bass 5, Mids 5, Treble 6, Volume 7 (10 and 7 subsequent takes). Played through a Marshall reissue non slanted 4×12 cabinet loaded with original, vintage Celestion G12M “greenbacks”.
  • Original 1979 Marshall model 2203, Attenuated with Aracom Attenuator. Settings: Presence 0, Bass 5, Mids 5, Treble 6, Volume 6, Preamp 6. Played through a Marshall reissue non slanted 4×12 cabinet loaded with original, vintage Celestion G12M “greenbacks”.
  • Original 1970s Marshall Model Lead & Bass (about 18 watts) Attenuated with Aracom Attenuator. Settings: Tone 10, Volume 10. Played through a Marshall reissue non slanted 4×12 cabinet loaded with original, vintage Celestion G12M “greenbacks”
  • Rock N Roll Relics “Angus Model” volume 10, tone 10

 

Rock N Roll Relics “Angus Model”, David Allen P51 on a Wizard Vintage Classic through original 1977 Celestion G12M “greenbacks” – cloth type is checkered, non slant “B” Marshall 4×12 cabinet type.
Microphones: 1x Shure SM57 & x Vintage Sennheiser MD421– NO EQUALISATION; Microphones at same level

 

Rock N Roll Relics “Angus Model”, David Allen P51 on a Wizard Vintage Classic through original 1977 Celestion G12M “greenbacks” – cloth type is checkered, non slant “B” Marshall 4×12 cabinet type.
Microphones: 1x Shure SM57 & x Vintage Sennheiser MD421– NO EQUALISATION; Microphones at same level. The Schaffer Replica ON, Companding 10, Boost 60%.

 

Rock N Roll Relics “Angus Model”, David Allen P51 on an original, 1976 Marshall Model 1959 through original 1977 Celestion G12M “greenbacks” – cloth type is checkered, non slant “B” Marshall 4×12 cabinet type.
Microphones: 1x Shure SM57 & x Vintage Sennheiser MD421– NO EQUALISATION; Microphones at same level. 

 

Rock N Roll Relics “Angus Model”, David Allen P51 on an original, 1976 Marshall Model 1959 through original 1977 Celestion G12M “greenbacks” – cloth type is checkered, non slant “B” Marshall 4×12 cabinet type.
Microphones: 1x Shure SM57 & x Vintage Sennheiser MD421– NO EQUALISATION; Microphones at same level. The Schaffer Replica ON, Companding 10, Boost 60%.

 

Rock N Roll Relics “Angus Model”, David Allen P51 on an original, Metro JTM50 (JTM45 on EL34s)  through original 1977 Celestion G12M “greenbacks” – cloth type is checkered, non slant “B” Marshall 4×12 cabinet type. Microphones: 1x Shure SM57 & x Vintage Sennheiser MD421– NO EQUALISATION; Microphones at same level. For this take, amplifier at 7.

 

Rock N Roll Relics “Angus Model”, David Allen P51 on an original, Metro JTM50 (JTM45 on EL34s)  through original 1977 Celestion G12M “greenbacks” – cloth type is checkered, non slant “B” Marshall 4×12 cabinet type. Microphones: 1x Shure SM57 & x Vintage Sennheiser MD421– NO EQUALISATION; Microphones at same level. For this take, amplifier at 10.

 

Rock N Roll Relics “Angus Model”, David Allen P51 on an original, Metro JTM50 (JTM45 on EL34s)  through original 1977 Celestion G12M “greenbacks” – cloth type is checkered, non slant “B” Marshall 4×12 cabinet type. Microphones: 1x Shure SM57 & x Vintage Sennheiser MD421– NO EQUALISATION; Microphones at same level. For this take, amplifier at 7 with TSR.

 

[jwplayer mediaid=”9681″]

Rock N Roll Relics “Angus Model”, David Allen P51 on an original, Marshall 1979 Lead Master 2203  through original 1977 Celestion G12M “greenbacks” – cloth type is checkered, non slant “B” Marshall 4×12 cabinet type. Microphones: 1x Shure SM57 & x Vintage Sennheiser MD421– NO EQUALISATION; Microphones at same level. 

 

[jwplayer mediaid=”9683″]

Rock N Roll Relics “Angus Model”, David Allen P51 on an original, Marshall 1979 Lead Master 2203  through original 1977 Celestion G12M “greenbacks” – cloth type is checkered, non slant “B” Marshall 4×12 cabinet type. Microphones: 1x Shure SM57 & x Vintage Sennheiser MD421– NO EQUALISATION; Microphones at same level.The Schaffer Replica ON, Companding 10, Boost 60%.

 

Rock N Roll Relics “Angus Model”, David Allen P51 on an original, Marshall 1971 Model 1987  through original 1977 Celestion G12M “greenbacks” – cloth type is checkered, non slant “B” Marshall 4×12 cabinet type. Microphones: 1x Shure SM57 & x Vintage Sennheiser MD421– NO EQUALISATION; Microphones at same level. 

 

Rock N Roll Relics “Angus Model”, David Allen P51 on an original, Marshall 1971 Model 1987  through original 1977 Celestion G12M “greenbacks” – cloth type is checkered, non slant “B” Marshall 4×12 cabinet type. Microphones: 1x Shure SM57 & x Vintage Sennheiser MD421– NO EQUALISATION; Microphones at same level. The Schaffer Replica ON, Companding 10, Boost 60%.

 

Rock N Roll Relics “Angus Model”, David Allen P51 on an original, Marshall 1970s Model Lead & Bass  through original 1977 Celestion G12M “greenbacks” – cloth type is checkered, non slant “B” Marshall 4×12 cabinet type. Microphones: 1x Shure SM57 & 1x Sennheiser MD421- NO EQUALISATION; Microphones at same level. The Schaffer Replica ON, Companding 9, Boost 60%. 

Update: Now Introducing David Allen’s Prototype I 

IMG_0252

So, now that we have listened carefully – I hope – to the RRR Angus Model with David Allen’s well known P51s inside (which I love and will probably install in a few of my 1959 Les Pauls – The Replicas), I am now here to test the first one of the two prototypes that David sent me to try. The prototype has been put inside the RRR Angus Model in the bridge position, as the P51 earlier.

Will comment it/evaluate it later; for now, just let your ears listen to it. I will try it just like the above test, all the amps I have in the laboratory with and without the TSR.

Please note: in relation to the previous test, a couple elements have changed: the 2203 amplifier is now the older, 1977 model I had at the shop, now back to the lab. I consider this one a superiorly sounding amplifier (it’s one of the first ones), therefore I am using this one; 

In place of the previous Shure SM57 – current production – I am now using a 1970s Shure “Unidyne III” SM57, made in the USA (as opposed to the current ones made in Mexico). These are allegedly better, and the differences I hear are the older one being “smoother” than “harsher”. 

All the other elements remain unchanged.

 

  • Original 1977 Marshall model 2203, Attenuated with Aracom Attenuator. Settings: Presence 0, Bass 5, Mids 5, Treble 6, Volume 6, Preamp 6. Played through a Marshall reissue non slanted 4×12 cabinet loaded with original, vintage Celestion G12M “greenbacks”.
  • Wizard Vintage Classic, Attenuated with Aracom Attenuator. Settings: Presence 0, Bass 6, Mids 5, Treble 6, Volume 7. Played through a Marshall reissue non slanted 4×12 cabinet loaded with original, vintage Celestion G12M “greenbacks”.
  • Rock N Roll Relics “Angus Model” volume 10, tone 10

Rock N Roll Relics “Angus Model”, David Allen “Prototype I”  on an original, Marshall 1977 Lead Master 2203  through original 1977 Celestion G12M “greenbacks” – cloth type is checkered, non slant “B” Marshall 4×12 cabinet type. Microphones: 1x Vintage Early 1970s Shure SM57 “Unidyne III” & 1x Vintage Sennheiser MD421– NO EQUALISATION; Microphones at same level. 

Rock N Roll Relics “Angus Model”, David Allen “Prototype I”  on an original, Marshall 1977 Lead Master 2203  through original 1977 Celestion G12M “greenbacks” – cloth type is checkered, non slant “B” Marshall 4×12 cabinet type. Microphones: 1x Vintage Early 1970s Shure SM57 “Unidyne III” & 1x Vintage Sennheiser MD421- NO EQUALISATION; Microphones at same level.  The Schaffer Replica ON, Companding 9, Boost 60%.

Rock N Roll Relics “Angus Model”, David Allen “Prototype I”  on a Wizard Vintage Classic  through original 1977 Celestion G12M “greenbacks” – cloth type is checkered, non slant “B” Marshall 4×12 cabinet type. Microphones: 1x Vintage Early 1970s Shure SM57 “Unidyne III” & 1x Vintage Sennheiser MD421– NO EQUALISATION; Microphones at same level. 

Rock N Roll Relics “Angus Model”, David Allen “Prototype I”  on a Wizard Vintage Classic  through original 1977 Celestion G12M “greenbacks” – cloth type is checkered, non slant “B” Marshall 4×12 cabinet type. Microphones: 1x Vintage Early 1970s Shure SM57 “Unidyne III” & 1x Vintage Sennheiser MD421– NO EQUALISATION; Microphones at same level.  Companding 9, Boost 60%

 

Just Adding more beef to the test.

Metro JTM50 On Steroids thanks to the Schaffer Replica™, 100% Companding, 100% Boost. Amps is Presence 0, bass 4, Mids 4, Treble 10, Vol 8

Cabinet is 1979 Slanted Marshall 4×12 loaded with Original 1979 Celestion G12-65s. Recorded with TWO Shure SM57s, one of them being a vintage Unidyne III. No equalization added.

 

 

 

avatar
Fil "SoloDallas" Olivieri
sd@solodallas.com

We Are Rock 'N Roll People.

61 Comments
  • avatar
    nitroangus23
    Posted at 08:09h, 09 November

    Dare I say these new samples are my favorite tone that you’ve ever created Fil? (okay so you have made a lot of goodies,so maybe I can’t pick just one)

    But DAMN those are some FAT,MEAN,AGGRESSIVE sounds!!!

    My God they are eargasmic, from it Ain’t No Fun to Hells Bells, to that thick For Those About To Rockish vibe.

    I love the charm these clips have, I hope to hear it again on some FTATR stuff (I know it’s on your list of SVDS used albums)

    Also, I wouldn’t mind hearing it on albums that DIDN’T have the SVDS, say The Razor’s Edge,or Fly On The Wall, or even Ballbreaker.

    Just imagining Ballbreaker with this sound…..oh my.

    Bravo Fil. As always (:

    • avatar
      SoloDallas
      Posted at 14:16h, 09 November

      Nitroooo!!!! Been missing you bro. Good to see you here :)

      • avatar
        nitroangus23
        Posted at 04:56h, 16 November

        I have been around my friend just haven’t been commenting like I should!

        haha

        Hope all is well on your end (seems to be just grand judging by all the progress and excellent content you have been putting out.)

        My new job has kept me busy lol, love what you’ve gotten done with the replica and these projects, you are the man.

  • avatar
    AngusRudd1019
    Posted at 23:31h, 07 November

    Is David accepting orders on these P51’s yet?

    • avatar
      SoloDallas
      Posted at 23:49h, 07 November

      Oh yeah. And through his site, directly :)

      • avatar
        AngusRudd1019
        Posted at 10:00h, 09 November

        David said you are about to test another prototype and it might be the final one and then I can order one. Can’t wait to hear it.

        • avatar
          SoloDallas
          Posted at 14:17h, 09 November

          Oh he revealed our secret!!!111 😆

          Yep :) Actually we have TWO more prototypes, not one. Two!

          • avatar
            AngusRudd1019
            Posted at 05:52h, 16 November

            :O :O :O :O :O :O :O :O :O :O :O :O :)

  • avatar
    RockBluesAndJazz
    Posted at 05:30h, 07 November

    Hey Fil, are you going to be selling these pick-ups eventually?

  • avatar
    lautmaschine
    Posted at 04:36h, 06 November

    Fil, the new clips of the Prototype I with the 2203 has that unforgettable ‘jangle’ that we hear on those earlier albums. I love that sound. Very little compression and nice articulation, which works great on the rhythm.

    As you know from my posts, I’m also always interested in the amplifier and would like to know what differences this ’77 2203 have in comparison to you ’79? :) But I know this stuff is complicated and takes lots of work to research to present to the great standard you do, so I am not expecting anything immediate!

    Fil, you are a leading historian, perhaps archaeologist on this late 70s rock and roll. What’s not to love about this sound? Honestly, this is great.

  • avatar
    currentpeak
    Posted at 20:57h, 05 November

    Hey Fil, Ain’t No Fun Waitin’ ’round to be a Millionaire, right? (pun intended 😉 ) It’s such a cool lick!
    Great playing as always and sonical orgasm for ears.

  • avatar
    shaolintao
    Posted at 19:04h, 05 November

    Amazing with the 2203 and the replica. I’m less convinced by the wizard, perhaps a lack of brightness, but i’ts difficult to make an advice : indeed it’s easier in front of the amp

  • avatar
    AngusRudd1019
    Posted at 20:45h, 04 November

    That For Those About To Rock tone in the 2nd sample
    :O <=================== Mind Blown.

    • avatar
      SoloDallas
      Posted at 09:10h, 05 November

      On the new files? Because it’s the same thing I was thinking, that would be fantastic if we had the same perception? Thing is, to my knowledge, the amp(s) used for FTATR are still unknown. My suspect is several were used, MVs and NMVs, both Ang & Mal. Mal more or less we do know that it’s 100 watters, and either MV (2203) or Superbass. For Ang we can throw also 50 watts in, specifically for solos I think (some), as I think he has had this pattern going for a while – certainly from Back in Black (album). Microphones are SM57s on FTATR… so we have ’em.

  • avatar
    shaolintao
    Posted at 19:14h, 04 November

    The prototype sounds very good…. Curious to hear more…

  • avatar
    dash8311
    Posted at 15:44h, 28 October

    The 18 watt sounds really good Fil

    • avatar
      SoloDallas
      Posted at 16:31h, 28 October

      With the TSR? Heck yeah… without… uh oh ( 😆 )

      • avatar
        dash8311
        Posted at 03:38h, 02 November

        Looking forward to the D Allen T-Top replica audio!

        • avatar
          SoloDallas
          Posted at 09:11h, 05 November

          You got it – I WANT to listen to what you posted on FB, I am VERY curious to what extent these experiments are replicable. Because you know, once they are replicable… that’s it! 😉

  • avatar
    depuis1899
    Posted at 20:23h, 23 October

    When’s the 2203/04 coming ? :)
    I know you’ve been using the 2203 for Walk All Over You and Shot Down In Flames, but I still am curious to hear it like with the same settings as for these 3 amps :)

    • avatar
      SoloDallas
      Posted at 21:07h, 23 October

      Hahaha… you’re right. Got sidetracked by that damn cover 😆 giving you it tomorrow 😉

      • avatar
        depuis1899
        Posted at 14:55h, 24 October

        No worries Fil, thanks :)

        • avatar
          SoloDallas
          Posted at 20:48h, 25 October

          You got it now :)

          • avatar
            Ant
            Posted at 22:58h, 25 October

            2203 + TSR = Tone of the Gods

            • avatar
              depuis1899
              Posted at 09:01h, 26 October

              Thx Fil 😉
              Yeah Ant, same thoughts when I heard it !

              • avatar
                AngusRudd1019
                Posted at 19:40h, 26 October

                I got 1/2 of that puzzle, just need the other.

                • avatar
                  SoloDallas
                  Posted at 19:53h, 26 October

                  “Incoming”

                • avatar
                  depuis1899
                  Posted at 22:13h, 26 October

                  Same here Henning !
                  Soon the puzzle will be completed and we won’t leave home anymore ! LOL

                  • avatar
                    depuis1899
                    Posted at 22:13h, 26 October

                    Not Henning* Damn, just confused you lol sorry mate

  • avatar
    KyleSG
    Posted at 22:21h, 19 October

    Great work!! Don’t forget to try it through a 2203 as highway to hell and powerage was used with one and t-tops :)

  • avatar
    lautmaschine
    Posted at 18:06h, 19 October

    I also really like the sound of the 1959. The TSR really works well on the solos. It’s got that bright crispness, but is also tight. Fil, is this amp stock? I am wondering what type / value of bright cap it has on the volume pot. Do you know?

    Also, I really like this P51 pickup. I think it was an interesting idea that Allen put an Alnico 4 into a PAF instead of a 2 or a 5. I have yet to try an Alnico 4 in my home-made T-top, but I have been told that they have less aggressive highs than the typical Alnico 5.

    • avatar
      SoloDallas
      Posted at 06:55h, 21 October

      Brilliant comment, thanks. I have NO idea of what values this amp has, though I remember when I got it (from UK) that the seller told me I’d be really happy with it. It’s supposedly in stock form, from 1976. Original 1959 model of the era. Could be exactly what Angus got back then when they signed with Marshall (1977). It’s definitely more aggressive than previous models. For me, it’s the perfect 1959. David Allen: I am almost done recording the P51, will switch to the T-top replicas this week (he sent me two to try)

      • avatar
        lautmaschine
        Posted at 17:22h, 21 October

        Fil, thank you so much for replying. I’m watching your other thread (‘Walk All Over You’), and I’m finding these conversations fascinating. Many people think there is ‘nothing special’ about T-tops– that they were mass-produced, standardized and uninteresting. But I have seen lots of variations on them (ranging from low 7k to over 8k output!). Clearly they were a big part of the 1970s classic rock sound, but somehow not loved by the masses…

        If you ever open up (or have a tech look at) that 1959, I would be interested in knowing the value of that cap (it will probably be a brown disc mounted right on the bright volume pot). The reason I am focusing on that one component is because it is the single easiest thing to mod in a Marshall and has perhaps the biggest impact to the amp’s overall character and sound. Also, I have seen examples where Marshall used different values during the mid-1970s. Eg, 4700pF and 5000pF are common, but I have seen at least one 1000pF as an original Lemco component on a 1977. A 4700pF will let much more upper mid frequencies through than a 1000pF. Again, thanks for all of this fascinating info.

        • avatar
          SoloDallas
          Posted at 20:49h, 25 October

          Sorry for the late reply; will do it for you! Will help me remember it?

          • avatar
            lautmaschine
            Posted at 23:43h, 26 October

            Yes I will, and thank you! I was thinking that once you have these ‘tone recipes’ in place, it might be worthwhile to take some pictures / gut shots of the amps, because there are subtle variations in components from amp to amp, which as you know can make a big difference in tone. I just suggest it, because then you have a record of the components. Sometimes over the years, owners and techs made little changes to these amps. I see it all the time on ebay — often the seller isn’t even aware. I’m not saying this is bad, it’s just reality that a 40 year amplifier might not be 100% original.

            I also found it surprising that your 1987 sounds less aggressive in the upper mids than your 1959. I don’t know why that would be, but maybe there is something changed inside the amp… Just one possibility! Again, I find all these comparisons very interesting.

  • avatar
    Angusrocks
    Posted at 13:31h, 19 October

    a short word to these files.
    They all sound very very good and also the playing is, but i like the Marshall files best. I have compared these many times and i like the distortion and the highs of the Marshall most 😉
    I have the Manlius T-top right now in my SG and i must say that this pickup is sounding much more after Angus than the AYSH. The AYSH is perhaps more for the newer sound of Angus, i don`t know, but the Manlius T-top matches the older sounds perfect.
    I`m very expectful if the David Allen Angus Sig. Humbucker is better…;-)

    • avatar
      banane
      Posted at 20:54h, 21 October

      Ah, Henning! :) Yes, exactly the same here. The Manlius T-Top provides much more detail and much better high mids. Yes, it has less punch and adds less compression than the AYSH, but in exchange you get a much better tone. And, if I remember correctly, the Manlius is even cheaper. my absolute favourite. Now looking forward how the David Allen AY Sig will come out :)

      • avatar
        dash8311
        Posted at 21:54h, 21 October

        …you mean the David Allen SoloDallas Signature :)

  • avatar
    Angusrocks
    Posted at 12:31h, 19 October

    Fil, i can`t open these audio files :-(
    Why ??

    • avatar
      SoloDallas
      Posted at 12:56h, 19 October

      Mate, just click to the left of the bar. I dont see a play icon either, but you click to the left where you see some black space And it should start loading and playing

      • avatar
        Angusrocks
        Posted at 13:01h, 19 October

        oh…hahaha…it works…thank you Fil 😉

  • avatar
    AngusRudd1019
    Posted at 09:48h, 19 October

    Both mics pointed at directly at the center of the cones?

    Does anyone know how I can get my 100W amp to be like a 50W to make it more ideal for recording? Lower the ohms?

    • avatar
      SoloDallas
      Posted at 11:11h, 19 October

      If you look closely, both mikes are slightly tilted; I used a flashlight to gently position BOTH of them so that their capsules catch HALF of the cone center, the other half is on the paper side. This way, I was able to grasp the high treble from the G12Ms but avoided the harshness. I am sure there are even better ways of doing this in a good sounding room, but my room is NOT at all good sounding. If you see in fact, I tried to eliminate as much as I could the room from the sound, by placing baffles around the cabinet, all around it. Highway To Hell guitar parts were recorded with the cabinets AGAINST corners AND baffled.

    • avatar
      SoloDallas
      Posted at 11:13h, 19 October

      PS DO NOT tamper with the Ohms! That way won’t work. You NEED an attenuator or someone to modify your 100W amps with a PPIMP master volume.

    • avatar
      Angusrocks
      Posted at 12:29h, 19 October

      Hi AngusRudd,
      you can put out the outer two tubes or the inner two tubes. It is not dangerous and it won`t damage your amp. That`s the normal way to reduce the wattage of your amp, BUT your amp doesn`t get much lower then…it distorts much earlier and because of that you mustn`t turn your volume very high. The best way, as Fil said, is to get yourself an attenuator. Otherwise it will be pretty loud to record a good crunchi amp.

      • avatar
        lautmaschine
        Posted at 16:56h, 19 October

        Yes – I used to do this with my old 100 watt. You get an impedance mismatch between the output transformer and the speakers unless you adjust the impedance switch accordingly. The mismatch isn’t considered big enough to damage the transformer but can make the sound a bit weak in the bass.

        My new method for lowering volume is through the Lar/Mar PPIMV master volume. I built this into my 50 watt plexi. I far prefer it to using an attenuator (although I have never tried the Aracom). It is typically mounted on the rear of the head, by removing one of the speaker jacks. Parts are cheap and any good tech could do the work for you for low cost.

  • avatar
    Allan
    Posted at 07:07h, 19 October

    If this is David Allen of Allen amplification he is great to deal with. I built one of his Sweet Spot amp kits and would recommend him.

    • avatar
      SoloDallas
      Posted at 06:59h, 21 October

      Nope this is David Allen pickups :)

      • avatar
        Allan
        Posted at 06:20h, 22 October

        Oh, ok
        I was wondering why I have not seen pickups on the Allen Amplification site.
        Lol:)
        Thanks for replying

  • avatar
    Johnny
    Posted at 05:07h, 19 October

    sounds great fil, my fav is the boosted 1959 :)

  • avatar
    dash8311
    Posted at 21:32h, 18 October

    Cool. Sounds awesome with the TSR, but I’m still partial to the T-Top tone. T-Tops for everyone!

    Looking forward to hearing the D Allen take on the T-Top. Been holding off a Manlius replica for my RnR Angus, which I have in the CS SG.

    Have a great day Fil!

    • avatar
      SoloDallas
      Posted at 17:25h, 19 October

      I have all of them. The Manlius and DA’s prototypes. We’ll see it all, evaluate it all and… keep this place updated 😉

      PS You do too you Mr. Pilot!

      • avatar
        dash8311
        Posted at 17:33h, 19 October

        Sounds good! [literally and figuratively]

        😀

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